Roving Mars: The in-depth IMAX adventure follows the "careers" of Spirit and Opportunity, NASA's robotic Exploration Rovers, from their development to their manufacture to their six-month, 10,000-mile-per-hour flight through cold space to their landing and deployment on the surface of Mars, where they gathered information to help pave the way for future visits by man. Runs through Nov. 14. Tickets: $8, $7.25 senior citizens, $6.25 children ages 3-12; children under 3 are free. Call for show times.

Baby Mama (PG-13, 99 min.) Tina Fey is a single career woman with a baby-thwarting "T-shaped" uterus; Amy Poehler is the white-trash surrogate mother who rents out her womb to house Fey's fertilized eggs. The results of this bargain are predictable (as is writer-director Michael McCullers' enabling of the premise's potential for mush), but the "Saturday Night Live" veterans make a great comedy team, and their movie is thoroughly entertaining.

The Bucket List (PG-13, 97 min.) That Morgan Freeman is one narratin' son of a gun, and he lends his distinctive sonority to this theoretically inspiring but phony and manipulative story about a pair of senior cancer ward roomies -- a lonely white zillionaire (Jack Nicholson) and a know-it-all black auto mechanic (Freeman) -- who embark on a 'round-the-world final-days funfest after they learn they're destined to kick the bucket. (Hence, the title to-do list, which mandates such literal deadline activities as "Get a tattoo" and "Go skydiving.") One of the supposed ironies of director Rob Reiner's not-ready-for- Lifetime saga is that the millionaire made his fortune by privatizing hospitals for profit and reducing the quality of care for patients; no doubt thousands of people suffered because of this. Yet Nicholson is presented as a lovable rascal, no more "bad" than the kid who snitches an extra piece of candy. That audiences accept this type of characterization helps explain why we elect the politicians we do.

Bartlett 10.

The Chronicles of Narnia: Prince Caspian (PG, 144 min.) The second film adapted from C.S. Lewis' popular fantasy book series is a more swashbuckling followup to "The Lion, the Witch and the Wardrobe."

The Counterfeiters (R, 98 min.) The first Austrian production to win the Academy Award for Best Foreign Language Film, this fact-based story of a Nazi counterfeiting operation staffed by concentration camp inmates would have more impact if it had been staged -- like Paul Verhoeven's "Black Book" -- in the straightforward manner of a classic Hollywood suspense film; director Stefan Ruzowitzky's "modern" style (characterized by documentary-aping camerawork) is a distraction. Even so, this is a gripping film, highlighted by the fine performance of Karl Markovics as a hedonistic Berlin counterfeiter unsure whether to save his skin or his soul when his skills are co-opted by the Nazi war machine.

Ridgeway Four.

Drillbit Taylor (PG-13, 102 min.) This is the first movie off the Judd Apatow Productions assembly line that seems like the product of an assembly line. In other words: "Drillbit Taylor" is to Judd Apatow as "Harry and the Hendersons" and "*batteries not included" were to Steven Spielberg. Directed by Adam Sandler collaborator Steven Brill and co-scripted by "Knocked Up" star Seth Rogen, the film casts Owen Wilson as an implausibly lovable homeless Army deserter hired as a bully-blocking bodyguard by three nerdy high-school freshmen (a skinny smart guy, a fat loudmouth and an uber-geek, just like in "Superbad"). The bully's attacks are surprisingly brutal, which primes the audience to cheer when he's out-muscled by an adult rather than outwitted by his peers.

Expelled: No Intelligence Allowed (PG, 97 min.) Conservative wit and commentator Ben Stein hosts this documentary that argues that Intelligent Design deserves to be discussed alongside Darwinian evolution in the American classroom.

Stage Cinema 12, Collierville Towne 16, Hollywood 20 Cinema.

Fool's Gold (PG-13, 112 min.) It's hard not to notice that Matthew McConaughey's chest measurements dwarf those of co-star Kate Hudson in this soggy screwball comedy-adventure for parrotheads, which places so much emphasis on its shirtless leading man it may have been filmed in a new process: Pectoralscope. McConaughey is a devil-may-care Caribbean treasure hunter; Hudson is his disapproving ex-wife; together, they battle a literal gangster rapper named "Bigg Bunny" (Kevin Hart) and a rival booty-hunter (Ray Winstone) on their way to inevitable fortune and reunion.

Bartlett 10.

The Forbidden Kingdom (PG-13, 113 min.) Jackie Chan and Jet Li team (and battle) onscreen for the first time in this kid-friendly story about a kung fu-obsessed South Boston teen (Michael Angarano) who's transported by a "divine staff of legend" to ancient China, where he becomes involved in (what else?) an ancient struggle between good and evil. Director Rob Minkoff (" Stuart Little") seems more influenced by "The NeverEnding Story," "The Karate Kid" and especially "The Wizard of Oz" than the Hong Kong heroic-fantasy epics that are the film's supposed inspirations, but he and fight choreographer Woo-Ping Yuen create plenty of fun action sequences while eschewing the pretentiousness of such martial-arts art-house spectacles as "Hero." Still, one wants more from a movie that contains this promising line: "Summon the witch. The one born of wolves."

Forgetting Sarah Marshall (R, 111 min.) The bravest part of star/screenwriter Jason Segel's much-publicized nudity here is above the waist. With his undeveloped sausage torso and puffy Sad Sack face, the 6-foot-4 former second banana -- disparagingly referred to as "Andre the Giant" in one scene in the film -- is no more a dream screen idol than Will Ferrell. If Segel is able to achieve similar fame and success, it will be because he was able to develop more films like "Sarah Marshall": This romantic comedy is as perfectly tailored an introduction of a new movie star as has been seen since the golden age of the Hollywood studio system. Directed by Nicholas Stoller, the movie is gentler and more relaxed than such Judd Apatow Productions predecessors as "Superbad" and "Knocked Up," probably because the heartbroken Segal character spends much of his time weeping or holding back tears as he travels to Hawaii, where the male-fantasy plot find him torn between his ex-girlfriend (Kristen Bell) and an equally sexy desk clerk (Mila Kunis). The resort hotel setting provides an excuse for the episodic plot and the large comic cast; it sounds like heresy to say it, but the supporting performances compare favorably with those found in the ensembles of the classic comedies of Preston Sturges and Howard Hawks, even if the writing and filmmaking overall are far inferior.

Harold & Kumar Escape from Guantanamo Bay (R, 102 min.) "North Korea and al-Qaida working together!" is the judgment of a Homeland Security agent who literally wipes his butt with the Bill of Rights after pot-smoking pals Harold (John Cho) and Kumar (Kal Penn) are mistaken for terrorists when Kumar assembles a home-made "smokeless bong" on an airplane. The gross-out and gay-panic humor is overdone, but like its predecessor, "Harold & Kumar Go to White Castle," the movie makes some cogent if clumsy points about race and society as the Korean-American Harold and the Indian-American Kumar go on the lam in the South, encountering inner-city "gangstas," inbred Alabamians (including one played by comedy MVP Missi Pyle of Germantown) and nutcase Ku Klux Klansmen before reuniting with Neil Patrick Harris and partying with George W. Bush (portrayed by professional Dubya lookalike James Adomian). Written and directed by Jon Hurwitz and Hayden Schlossberg, writers of the first film, who don't do us any favors by absolving the president of responsibility for his administration by portraying him as a comically irresponsible stoner.

Horton Hears a Who! (G, 87 min.) This beautifully animated Blue Sky Studios ("Ice Age") CGI makeover of a 1954 children's book by Dr. Seuss respects, to some extent, the economy of line -- in both rhyme and drawing -- that was Theodor Geisel's trademark; it can't resist the fourth-wall-breaking pop-culture references that are typical of non-Pixar cartoons (the animal cast gathers for a climactic singalong to REO Speedwagon, egads), but it avoids the bloat and chaos that transformed such recent live-action Seussafilms as "The Grinch" into utter abominations. Jim Carrey provides the voice of the title elephant, who rocks the dogma of the jungle when he discovers that a speck of dust contains an entire civilized world; Carol Burnett is the self-righteous kangaroo (she "pouch-schools" her child) whose reactionary assertions (Horton is a "menace" because he causes people to "question authority") detract from the story's original, kid-friendly message that "a person's a person, no matter how small."

Stage Cinema 12, Majestic.

Indiana Jones and the Kingdom of the Crystal Skull (PG-13, 122 min.) Opened Thursday; see review on Page 6.

Iron Man (PG-13, 126 min.) Zillionaire playboy arms manufacturer Tony Stark (Robert Downey Jr.) -- dubbed "the merchant of death" by haters -- experiences an almost literal change of heart after he's wounded by one of his own bombs in Afghanistan. Giving up on munitions, he uses "repulsor technology" to create a stylish, high-tech "gold titanium alloy" suit, and the superhero Iron Man is born. Jon Favreau ("Swingers," "Elf") remains an indifferent director (the most dynamic sequences here are the ones that probably were storyboarded by the special-effects teams), but "Iron Man" ranks with the best "X-Men" films and just below the first two "Spider-Man" movies as the most successful translation of a Marvel comic book to the screen. The message is mixed, however: The reborn Stark is supposed to be a warrior for peace and justice, but his creation of Iron Man affirms rather than repudiates his arms race-exploiting past -- it proves once again that the one with the best weapons wins. The real hero here is the insouciant Downey, who delivers the script's many witty lines with ease; he's almost matched by Gwyneth Paltrow as his loyal Girl Friday, Pepper Potts.

Jumper (PG-13, 89 min.) It's easy to see why audiences have embraced this critically lambasted film: Its premise -- a young man (Hayden Christensen) has the power to teleport himself anywhere, instantly -- is irresistible. Need cash? "Jump" into a bank vault. Need no-obligation sex? Jump to a hottie-heavy pub in London, then jump back to America from the lady's bedroom the next morning. Plot details are inconsistent, but Doug Liman ("The Bourne Identity") directs with energy, and it's nice to see Samuel L. Jackson as a straight-up villain.

Bartlett 10.

Made of Honor (PG-13, 102 min.) Patrick Dempsey realizes he wants more than a platonic relationship with "best friend" Michelle Monaghan after she asks him to be a male "maid of honor" at her wedding.

Married Life (PG-13, 90 min.) The new movie directed by native Memphian Ira Sachs is only seven minutes old when actress Rachel McAdams makes her "Vertigo"-inspired entrance. She's carrying a pair of red gloves, and her dress is a rich green; she's a Christmas present, ready to be unwrapped. Sachs' followup to his 2005 Sundance Grand Jury Prize-winner "Forty Shades of Blue" similarly invites the viewer to find the surprises beneath its glossy packaging (the cinematographer is Peter Deming, who shot "Mulholland Drive"). Scripted by Sachs and Oren Moverman from a 1953 British suspense novel by John Bingham, the movie, set in the Pacific Northwest in 1949, casts Chris Cooper as a businessman who decides it would be kinder to murder his wife (Patricia Clarkson) than to abandon her for another woman (McAdams). Pierce Brosnan completes the quartet as the businessman's wolfish best friend and the film's sardonic, editorializing narrator. Influenced by the melodramas and crime films its characters might have watched in theaters, this is a movie with virtues that would have been unremarkable in the 1940s but are rare today: It holds our attention with story (including plot twists that actually surprise), dialogue and acting. With wry, dark comedy, it probes the mysteries of love and companionship, and dramatizes the notion that a person's "burden of conscience" is not an innate reality but a slippery construct, motivated by narcissism.

National Treasure: Book of Secrets (PG, 130 min.) Swashbuckling historian Ben Gates (Nicolas Cage) searches for the missing pages from John Wilkes Booth's diary and discovers an American Indian El Dorado beneath Mt. Rushmore in this absurd second installment in the Indiana Jones-for-idiots franchise. Jon Turtletaub directs as if Gates and his supporting cast (Jon Voight, Diane Kruger and Justin Bartha) were beloved sitcom characters whose every frustration and triumph is guaranteed to interest us, as if we'd been watching the first adventure on DVD at least once a week during the three years between films.

Prom Night (PG-13, 88 min.) This in-name-only remake of the 1980 Jamie Lee Curtis slasher "classic" casts Brittany Snow (Amber Von Tussle in "Hairspray") as a high school senior whose night of tiara, er, terror enables young moviegoers to displace their prom-date/end-of-high school/beginning-of-"adulthood" anxiety onto the dispatchable person of an escaped knife-wielding maniac. Unfortunately, this "Prom Night," directed by Nelson McCormick, proves to be all tease: It's un-bloody and so un-scary that its teen interplay is actually more entertaining than its stalk-'n-slash. The movie does update the formula in one interesting way, however: If early slasher films, as their critics claimed, punished teens for having sex, the new "Prom Night" punishes teens for their conspicuous consumption (stretch limos, hotel suites, and so on). Apparently, the new scolds of Hollywood aren't conservatives but "greenies."

Redbelt (R, 99 min.) The ninth original film written and directed by David Mamet since "House of Games" in 1987 is worth seeing for a number of reasons in addition to the Mamet trademarks of terse, stylized dialogue and a vision of life as an enterprise -- a business, almost -- constantly threatened by corruption and conspiracy. Most notably, perhaps, the film reminds us that Chiwetel Ejiofor is one of the most comfortable, consistently convincing and undervalued actors in movies today. Here, Ejiofor plays a jiu-jitsu instructor in modern Los Angeles whose personal code of honor is challenged when he is pulled into a scheme that involves a traumatized lawyer (Emily Mortimer), an aging action-movie star (Tim Allen, in a rare supporting role) and the extreme sport of Mixed Martial Arts. The result is a sort of "Dojo of Games" -- a highly personal film for Mamet (himself a jiu-jitsu practicioner) that pits its hero against that sneakiest of villains, Hollywood.

Wolfchase Galleria Cinema 8, Majestic.

The Ruins (R, 91 min.) Scott Smith's creepy novel about sentient killer vines that trap several young tourists in an ancient Mayan temple was a short-story concept expanded to epic best-seller length with interior monologues and flashbacks. Stripped for the screen of its kudzu-like excess (by Smith himself, who wrote the screenplay), the story loses its timeless, nightmarish, existential power and becomes another "Hostel"-like cautionary tale in which beautiful and privileged post-9/11 young people learn the world is no longer safe for Americans. Directed with admirably lean efficiency but a surprising lack of scariness by former fashion photographer Carter Smith.

Bartlett 10, Majestic, Hollywood 20 Cinema.

Shutter (PG-13, 86 min.) Yet another Japanese horror director (this time, Masayuki Ochiai, of "Parasite Eve") makes the trans-Pacific leap to Hollywood (this time, for a story about ghostly images that appear in photographs of tragic accidents).

Majestic.

Speed Racer (PG, 135 min.) From the Day-Glo pop of its computer-generated environments to the "2001"-like rush of its almost abstract action climax, this may be the most extreme head-trip movie for kids since Gene Wilder conducted us to a lethal candyland in "Willy Wonka." But parents, don't let the trippy visuals scare you: This is the rare "family" movie that truly is family-friendly in terms of its morally coherent do-the-right-thing message and (most of) its content. The first movie directed as well as scripted by Larry and Andy Wachowski since 2003, this adaptation of the cult 1967 Japanese cartoon series is even more "digital" than the brothers' final "Matrix" film; the Fisher-Price production design, busy Super Bowl-commercial editing and weightless special effects (the race cars resemble toys sliding across Krazy Straw-shaped tracks) inevitably overwhelm the live performers, who include Emile Hirsch (a rather bland Speed Racer), Christina Ricci (a living anime doll if there ever was one) and Chim-Chim the comic-relief chimpanzee. Yet there's something apt and almost heroic about the Wachowskis determination to hold onto the humanity within their high-tech fantasy construct: Their strategy runs parallel to Speed's battle against the corporate "devil" (Roger Allam) who tries to convince Speed that the "religion" of auto racing is -- like the world of "The Matrix" -- phony and fixed.

The Spiderwick Chronicles (PG, 96 min.) The discovery of a vanished naturalist's field guide to fairies, goblins and trolls unleashes an attack of magical creatures in this sometimes surprisingly intense film in which young twin brothers (Freddie Highmore), a sword-wielding teen sister (Sarah Lawrence) and a struggling mom (Mary-Louise Parker) cope with more than the typical allotment of first-day-in-a-new-house worries. The monsters seem to be psychological projections as well as special-effects creations, with the scary lead ogre emerging to fill the void left by the absence of the resentful children's neglectful father. Directed by Mark Waters ("Mean Girls"), from a script (co-credited to John Sayles) adapted from the children's book series by Tony DiTerlizzi and Holly Black.

Bartlett 10.

Street Kings (R, 109 min.) David Ayer (writer of "Training Day") directed this violent story about corrupt cops, from a James Ellroy story. Keanu Reeves and Forest Whitaker star.

10,000 BC (PG-13, 109 min.) Director Roland Emmerich typically produces the most elephantine of sci-fi blockbusters ("Independence Day," the "Godzilla" remake), so it's appropriate the filmmaker has turned his Teutonic ponderousness to literal pachyderms: "10,000 BC" has more woolly mammoths than my attic has squirrels, and they display more personality than most of the actors. The film is entertaining when it focuses on the spectacle of mammoths, sabre-toothed tigers, "terror birds" and CGI B. DeMille prehistoric pyramids, but the human-oriented plotline -- something about a legend involving "the child with blue eyes" (Camilla Belle) and "the one who speaks to the spear-tooth" (Steven Strait) -- would insult the intelligence of Barney Rubble.

Bartlett 10.

21 (PG-13, 123 min.) This fact-based story of a gang of college math savants trained by a conceited MIT professor to win millions in a Las Vegas blackjack card-counting scheme offers a royal flush of movie enticements: money, sex, violence, beauty (the attractive cast is headed by Jim Sturgess of "Across the Universe" and Kate Bosworth) and experience (Laurence Fishburne is an old-school casino security chief; Kevin Spacey is the professor, in a role that makes perfect use of the actor's clammy superciliousness). Director Robert Luketic's film contains all the elements of an exciting, youth-oriented "Ocean's Eleven" or a more elaborate "Risky Business," but it makes little impact. When it ends it feels like a dream, which may be the point.

Collierville Towne 16, Paradiso, Summer Quartet Drive-In.

Vantage Point (PG-13, 91 min.) Movies used to boast of being "torn from the headlines"; now, they're torn from an electronics catalog. Who needs James Bond's Q when you've got Best Buy? In this film about a terrorist assassination plot, Palm Pilots, laptops and mini camcorders are fetishized the way weapons were in "Magnum Force." Even the movie's key storytelling/esthetic gimmick is born of recording technology: The film repeatedly "rewinds" (footage runs backward, in fast motion) to a particular point in time so the action can be followed again from the perspective of a different character. A wild climactic car chase breaks this cycle, hurtling the characters and us forward in time so the film finally can end. The cast includes Forest Whitaker as a tourist, William Hurt as the U.S. president and Dennis Quaid as a redemption-craving super-Secret Service agent; the director is Pete Travis.

Bartlett 10.

The Visitor (PG-13, 108 min.) In perhaps his first leading role, familiar character actor Richard Jenkins is superb as an economics professor who discovers that a young illegal-immigrant couple -- a Syrian jazz drummer (Haaz Sleiman) and a Senegalese jewelry-maker (Danai Gurira) -- have moved into his Manhattan apartment while he was teaching in Connecticut. This earnest second film from writer-director Tom McCarthy ("The Station Agent") is beautifully acted and staged, and almost novelistic in detail, but it's unwittingly at odds with itself: As the movie progresses, it makes an angry, overt plea for the humane reform of U.S. immigration policy, yet the story's true emphasis is not on "the visitors" but on the uptight professor, who experiences a spiritual rebirth thanks to the life-affirming presence of his new Third World friends, who turn him on to Fela Kuti and assure him he's "cool." The Arab gets arrested, but hey, at least the prof becomes liberated enough to take off his tie and participate in Central Park drum circles.

Studio on the Square.

What Happens in Vegas (PG-13, 99 min.) In this romantic comedy, Cameron Diaz and Ashton Kutcher discover they've gotten married after a night of debauchery in Sin City.

Young@Heart (PG, 107 min.) This crowd-pleasing documentary focuses on a Massachusetts chorus of senior citizens (average age: 80) that has found fame by performing a cappella renditions of songs by The Clash, Sonic Youth, James Brown, The Ramones and other rock/soul artists.